Dickens' Literary Devices Structural Features

Total Page:16

File Type:pdf, Size:1020Kb

Dickens' Literary Devices Structural Features Scene-by-Scene Summary – Alongside key quotations from each scene. Context – A Christmas Carol was written by Charles Dickens in 1843 Charles Dickens – Charles Dickens was born in 1812 and Class Divides – Despite industrial changes altering It is a foggy Christmas Eve, and Scrooge is working in his counting house. He spent the first years of his life in Kent, England. At 9, he the social landscape, there were still relatively refuses to buy another lump of coal to heat Bob Cratchit’s (his clerk’s) office. “Marley was dead: to begin with. There is moved to London. At 12, his father was sent to debtors’ distinct social classes in operation: the nobility upper Scrooge’s cheerful nephew, Fred, enters, inviting Scrooge to Christmas party, no doubt whatever about prison for racking up huge debts, and Charles was given a class, the middle class, and the working class. Life but he declines. After he leaves, two gentlemen enter, asking if Scrooge is that. The register of his burial painful job labelling bottles near the prison. He found this period in was terrible for the poorest: Lack of money resulted willing to make a charitable donation to the poor. Scrooge again declines. He was signed by the clergyman, STAVE ONE begrudgingly gives Bob Cratchit the day off. Scrooge follows his usual routine his life hellish, and it doubtlessly led him to draw readers’ attention in a negligible food supply. For some working the clerk, the undertaker, on the way home. At home, he sees the ghost of his old business partner (Jacob and the chief mourner. to the plight of the poor when he later found success as an author. families, money was so tight that they required Marley) in the knocker. Marley is in chains as punishment for his selfishness and Many of his works are about social hardships and inequalities. their children to work in order to survive. Scrooge signed it.” greed when living. He says that he seeks to save Scrooge from the same fate, The Victorian Era– The Victorian era describes the period Health and Medicine –Healthcare was more of a luxury and hence Scrooge will be visited by 3 ghosts over the next 3 nights. in which Queen Victoria sat on the English throne – at the time, and medicine was nowhere near as Scrooge is confused to wake at midnight, as it was after 2am when he went to “But the strangest thing about it was, that between 1837 and 1901 (most of Dickens’ life). Whilst this advanced today, Many diseases were rife, and childbirth sleep. At one o clock, Scrooge is visited by a strange child-like figure that from the crown of its head there sprung a was a time of industrial revolution, it was also an and poverty were very real dangers to people living in emanates wisdom – The Ghost of Christmas Past. The spirit touches Scrooges bright clear jet of light, by which all this extremely harsh time to live, and the differences between the lives of the era. As a result, a middle class person may expect to live to 45 at heart, granting the power to fly. The ghost takes Scrooge back to where he was visible; and which the richest and the poorest were exacerbated. The Victorian era was the time, whereas a working class person would have been lucky to was raised – Scrooge is touched by memories of his childhood. He sees himself was doubtless the as a schoolboy spending Christmas alone, being visited by his sister, being at a a period of great change. In this time, the population of England have lived half that time. In A Christmas Carol, the restrictions in STAVE TWO party held by Scrooge’s old boss Fezziwig, and with his old partner Belle, who occasion of its using, in its doubled – from 16.8 million 1851 to over 30 million in 1901. healthcare are evident in Tiny Tim’s continued suffering. is breaking off their engagement on account of his greed. He sees Belle in a duller moments, a great Workhouses– A workhouse was a place where a person Christmas– We now associate Christmas as being a time more modern time, with her husband, discussing how Scrooge is now ‘quite extinguisher for a cap, went if they could not afford to financially support of seasonal goodwill, love and friendship. However, before alone in the world.’ Scrooge is upset by the visions, and begs with the ghost to which it now held under themselves and their families. Men, women and children the Victorian era, when writers such as Dickens spread take him back home. Scrooge finds himself back in his bedroom, where he its arm.” (mostly orphans) lived and worked in the workhouses, which were these messages through their novels, there was no Santa once again falls asleep almost instantly. very crowded – making living conditions unhealthy and unpleasant. Claus, Christmas cards, and no holidays from work! Christmas Day The bell strikes one, and Scrooge is awake once more. At fifteen minutes past one, he wanders into the next room, where he finds the Ghost of Christmas “Its dark brown curls People slept in dormitories, where disease was easily spread. In A was a far more low-key affair. Writers such as Dickens encouraged were long and free; Christmas Carol, Scrooge voices his support for workhouses. middle-class families to share their wealth and act selflessly. Present waiting for him. He is a majestic jolly giant, and sits atop of a mountain of food. The spirit takes Scrooge to the bustling streets on Christmas free as its genial face, morning, where passers-by joyfully greet each other. The spirit then takes its sparkling eye, its Scrooge to the home of Bob Cratchit, where the family savour the Christmas Main Characters – Consider what Dickens intended through his characterisation of each of the below… STAVE THREE open hand, its cheery that they can afford. Their visibly-ill son, Tiny Tim, is cheering despite his voice, its Ebenezer Scrooge – Scrooge is the lead protagonist of the novella. The Cratchits– Bob Cratchit is Scrooge’s kind, mild-mannered clerk, ailments. Scrooge begs to know whether he will survive. They also visit Fred’s unconstrained He is a miserly owner of a counting house (what would now be who is treated terribly by his employer. He is a very poor man, with Christmas party, which Scrooge enjoys (though no one can see him). demeanour, and its called an accountant’s office). Initially greedy, selfish and cold, a large family, including Tiny Tim. Tiny Tim is a young boy who has Eventually, Scrooge is brought to a vast expanse, where two sickly children, ‘Want’ and ‘Ignorance’ emerge. When Scrooge asks if there is anything that joyful air.” Scrooge hates Christmas and lacks any form of Christmas spirit. He been born with physical disabilities that his family are too poor to experiences a moral and psychological transformation through his have treated. Despite these hardships, the family are cheery and can be done, the spirit mocks his prior selfishness. visits from the Ghosts of Christmases Past, Present and Yet to Come. determined to enjoy the few positives that they can get from life. Scrooge is approached by a hooded phantom. The spirit is silent, and Scrooge I fear you more than any spectre I have seen. But as Quote: “It's enough for a man to understand his own business” Quote: I am sure we shall none of us forget poor Tiny Tim” is terrified by him. Scrooge pleads with him to provide his next lesson. The “ I know your purpose is to Jacob Marley and Fred– Joseph Marley is Scrooge’s late business The Ghost of Christmas Past This is the first spirit to visit Scrooge. ghost takes him to the stock exchange, where men discuss the accounts of a – rich man, a dingy pawn shop, where the rich man’s stolen goods are being do me good, and as I partner, and Fred is Scrooge’s nephew. They represent the two He is a curious child-like figure that has an illuminated head, STAVE FOUR sold, and the Cratchit household, where the family struggles with the death of hope to live to be another extremes of Christmas spirit. Joseph Marley symbolises the limitations symbolising how shining a light on memories from the past can be Tiny Tim. Scrooge is then taken to a freshly dug grave in a graveyard. The man from what I was, I of a life-lived focused on greed and selfishness, whilst Fred’s life used to illuminate one’s thoughts and behaviours in the future. The gravestone reveals that it is his own grave. Appalled, Scrooge begs with the am prepared to bear you appears fulfilled through his perpetual joy, kindness and interactions Ghost of Christmas Past takes Scrooge to a number of places from spirit to give him another chance to show that he has learnt his lesson. The company, and do it with with others. After his death, Joseph Marley has been condemned to his childhood and early adulthood, including his old school, phantom begins to tremble and disappears, and once again Scrooge finds himself in the relative safety of his own bed. a thankful heart” wander the world as a miserable ghost. hometown, and the scene of his engagement being broken off. Quote: "you have yet a chance and hope of escaping my fate.” Quote: “Strange to have forgotten it for so many years!” Scrooge realises that he has been returned to Christmas morning, and is The Ghost of Christmas Present – The Ghost of Christmas Present The Ghost of Christmas Yet to Come – The Ghost of Christmas Yet utterly overjoyed.
Recommended publications
  • 'We All Came Here from Somewhere'
    ‘We all came here from somewhere’ Diversity, identities and citizenship We all came here from somewhere: Diversity, identities and citizenship is part of a series of support materials produced by the Post-16 Citizenship Development Programme. The programme is managed by the Learning and Skills Network (LSN) and is funded by the Quality Improvement Agency (QIA). Published by the Learning and Skills Network www.LSNeducation.org.uk The Learning and Skills Network is registered with the Charity Commissioners. Comments on the pack and other enquiries should be sent to: Post-16 Citizenship Team Learning and Skills Network Regent Arcade House 19–25 Argyll Street London W1F 7LS Tel: 020 7297 9186 Fax: 020 7297 9242 Email: [email protected] ISBN 1-84572-477-1 CIMS 062482MP © Crown Copyright 2006 Printed in the UK Extracts from these materials may be reproduced for non-commercial educational or training purposes on condition that the source is acknowledged. Otherwise, no part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, chemical, optical, photocopying, recording or otherwise, without prior written permission of the copyright owner. Information such as organisation names, addresses and telephone numbers, as well as email and website addresses, has been carefully checked before printing. Because this information is subject to change, the Learning and Skills Network cannot guarantee its accuracy after publication. The views expressed in this pack are not necessarily held by the LSN or the QIA. Cover photograph: www.slashstroke.com Typesetting and artwork by Em-Square Limited: www.emsquare.co.uk ‘We all came here from somewhere’ Diversity, identities and citizenship Acknowledgements We are grateful to Benjamin Zephaniah for contributing the foreword to this pack and for permission to reproduce extracts from his work in Activities 4 and 7 (see References and Resources page 49).
    [Show full text]
  • Antisemitism in the Palestine Solidarity Campaign
    Beyond the Great Divide Investigates… Antisemitism in the Palestine Solidarity Campaign THE PALESTINE SOLIDARITY CAMPAIGN DELEGATING HATE pg. 2 COLLIER: PSC DOSSIER FEBRUARY 2017 www.david-collier.com INDEX Summary 4 The PSC 5 Research 6 Antisemitism 7 BRANCHES Bristol 9-12 Cardiff 13-16 Chester 17 Durham 18-19 Jersey 20-21 London - Merton 23-30 London – Richmond & Kingston 31-36 London – West London 37-38 Luton 39-42 Medway 43 Norwich 44-46 St Ives Cornwall 47 Peterborough 48-50 Reading 51-53 Southport & Formby 54-56 West Midlands 57-61 Wolves 62 CASE STUDY Case Study – London 6th Feb 2017 63-73 Statistical breakdown 74 Conclusion 75 Support the research 76 Appendix 1 PSC Partners 77 Appendix 2 Sample links 78-79 pg. 3 COLLIER: PSC DOSSIER FEBRUARY 2017 www.david-collier.com Summary Although it claims to be concerned with human rights, the Palestine Solidarity Campaign is not a movement of peace, but rather a group that seeks to push Palestinian political ambitions. As part of ongoing research into antisemitism within the UK, I have been following the Palestinian Solidarity Campaign closely for over two years. I have gone to many events, different branches and attended their AGM. Antisemitism has been present consistently. Not an antisemitism that is explained away as a slightly exaggerated description of Israel’s activity, but hard-core ‘Jewish global domination’ type. At these events, I have engaged in conversations with PSC members about their belief about global Jewish control. Analysing online activity of PSC activists at each individual branch, and then culminating in an intensive analysis of ideological drivers of activists at a mass protest, this research suggests that over 40% of all public PSC protest activity is driven by antisemitic motivation.
    [Show full text]
  • An Interview with Benjamin Zephaniah
    Kunapipi Volume 26 Issue 1 Article 15 2004 An interview with Benjamin Zephaniah Eric Doumerc Follow this and additional works at: https://ro.uow.edu.au/kunapipi Part of the Arts and Humanities Commons Recommended Citation Doumerc, Eric, An interview with Benjamin Zephaniah, Kunapipi, 26(1), 2004. Available at:https://ro.uow.edu.au/kunapipi/vol26/iss1/15 Research Online is the open access institutional repository for the University of Wollongong. For further information contact the UOW Library: [email protected] An interview with Benjamin Zephaniah Abstract An interview with Benjamin Zephaniah This journal article is available in Kunapipi: https://ro.uow.edu.au/kunapipi/vol26/iss1/15 138 138 ERIC DOUMERC ERIC DOUMERC An interview with Benjamin Zephaniah An interview with Benjamin Zephaniah ED Could you first tell me about your background and where you come from? ED Could you first tell me about your background and where you come from? What was your childhood like? What was it like to grow up in England? What was your childhood like? What was it like to grow up in England? Do you feel English, West Indian, both or neither? Do you feel English, West Indian, both or neither? BZ Well, I was born in England. I was born in the city of Birmingham. What BZ Well, I was born in England. I was born in the city of Birmingham. What was my childhood like? It was a very rough area; I remember many of the was my childhood like? It was a very rough area; I remember many of the buildings, much of the area was still flattened because of the war.
    [Show full text]
  • The Importance of the Poetry Book in the Digital
    The Importance Of The Poetry Book In The Digital Age How Far Digital Technology Has Influenced Contemporary Poetry And The Status Of The Poetry Book & The Birth of Romance A Poetry Collection A thesis submitted for the degree of Doctor of Philosophy in Creative Writing at the University of Birmingham by Philip Monks Submitted 27th September 2017 This corrected version 1st March 2018 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. ABSTRACT An examination through the creation and curation of a printed poetry collection, together with other practice-based and wider research, of how far digital technology has influenced contemporary poetry and the status of the poetry book. Personal practice is considered and analysed and, from this, and research leading out from this, a more general survey provided of the impact of digital technology on the poet’s persona, the creation of the poems themselves and on their dissemination. These wider issues, and the practice-based research that underlies them, inform the specific consideration of the extent to which digital technology has affected the nature and importance of the single collection poetry book in the early part of the twenty-first century.
    [Show full text]
  • Breaking New Ground: Celebrating
    BREAKING NEW GROUND: CELEBRATING BRITISH WRITERS & ILLUSTRATORS OF COLOUR BREAKING NEW GROUND: Work for New Generations BookTrust Contents Represents: 12 reaching more readers by BookTrust Foreword by My time with 5 Speaking Volumes children’s Winter Horses by 14 literature by 9 Uday Thapa Magar Errol Lloyd Our Children Are 6 Reading by Pop Up Projects Reflecting Grandma’s Hair by Realities by Ken Wilson-Max 17 10 the Centre for Literacy in Primary Education Feel Free by Irfan Master 18 Authors and Illustrators by Tiles by Shirin Adl 25 62 Location An Excerpt from John Boyega’s 20 Paper Cup by Full List of Authors Further Reading Catherine Johnson and Illustrators 26 63 and Resources Weird Poster by Author and Our Partners Emily Hughes Illustrator 23 28 Biographies 65 Speaking Volumes ‘To the woman crying Jon Daniel: Afro 66 24 uncontrollably in Supa Hero the next stall’ by 61 Amina Jama 4 CELEBRATING BRITISH WRITERS & ILLUSTRATORS OF COLOUR BREAKING NEW GROUND clear in their article in this publication, we’re in uncertain times, with increasing intolerance and Foreword xenophobia here and around the world reversing previous steps made towards racial equality and social justice. What to do in such times? The Centre for Literacy in Primary Education and BookTrust, who have also contributed to this brochure, point to new generations as the way forward. Research by both organisations shows that literature for young people is even less peaking Volumes is run on passion contribution to the fight for racial equality in the representative of Britain’s multicultural society and a total commitment to reading as arts and, we hoped, beyond.
    [Show full text]
  • What to Do Today
    What to do today IMPORTANT Parent or Carer – Read this page with your child and check that you are happy with what they have to do and any weblinks or use of internet. 1. Read about experiences of racism • Read My Experience – Asim Chaudhry. • Fill in the column for Asim on Experience Summary. • Now read My Experience – Claire Heuchan. • Fill in the column for Claire on Experience Summary. 2. Present a story in words and pictures • Watch Balraj’s Story: https://www.bbc.co.uk/newsround/49613514 • Use words and pictures to summarise Balraj’s Story. 3. Read about challenging racism • Work with a grown-up to read How can you challenge racism? written by Claire Heuchan. • Discuss what you have read with the grown-up. Which of these ideas is most relevant? How does challenging racism make you feel? Nervous, hopeful or a bit of both? Well done. Talk to a grown-up about what you have learnt today. Try this extra activity Can you make a presentation of Asim or Claire’s story (or both), using words and pictures? My Experience by Asim Chaudhry Just a headache It was the summer of '98. I was 11 years old. The World Cup was on and I was at my local park in Feltham, West London, playing football in my new football boots with my best friend, Asad. Before I share this experience let me give you some context about what football meant to us when we were kids. It was our life! In the morning on the way to school we would kick the ball to each other, at times it would go on the road and we would get shouted and beeped at by angry morning commuters.
    [Show full text]
  • Pioneers & Champions
    WINDRUSH PIONEERS & CHAMPIONS ACKNOWLEDGEMENTS CONTENTS WINDRUSH PIONEERS Windrush Foundation is very grateful for the contributions Preface 4 David Dabydeen, Professor 82 to this publication of the following individuals: Aldwyn Roberts (Lord Kitchener) 8 David Lammy MP 84 Alford Gardner 10 David Pitt, Lord 86 Dr Angelina Osborne Allan Charles Wilmot 12 Diana Abbott MP 88 Constance Winifred Mark 14 Doreen Lawrence OBE, Baroness 90 Angela Cobbinah Cecil Holness 16 Edna Chavannes 92 Cyril Ewart Lionel Grant 18 Floella Benjamin OBE, Baroness 94 Arthur Torrington Edwin Ho 20 Geoff Palmer OBE, Professor Sir 96 Mervyn Weir Emanuel Alexis Elden 22 Heidi Safia Mirza, Professor 98 Euton Christian 24 Herman Ouseley, Lord 100 Marge Lowhar Gladstone Gardner 26 James Berry OBE 102 Harold Phillips (Lord Woodbine) 28 Jessica Huntley & Eric Huntley 104 Roxanne Gleave Harold Sinson 30 Jocelyn Barrow DBE, Dame 106 David Gleave Harold Wilmot 32 John Agard 108 John Dinsdale Hazel 34 John LaRose 110 Michael Williams John Richards 36 Len Garrison 112 Laurent Lloyd Phillpotts 38 Lenny Henry CBE, Sir 114 Bill Hern Mona Baptiste 40 Linton Kwesi Johnson 116 42 Cindy Soso Nadia Evadne Cattouse Mike Phillips OBE 118 Norma Best 44 Neville Lawrence OBE 120 Dione McDonald Oswald Denniston 46 Patricia Scotland QC, Baroness 122 Rudolph Alphonso Collins 48 Paul Gilroy, Professor 124 Verona Feurtado Samuel Beaver King MBE 50 Ron Ramdin, Dr 126 Thomas Montique Douce 52 Rosalind Howells OBE, Baroness 128 Vincent Albert Reid 54 Rudolph Walker OBE 130 Wilmoth George Brown 56
    [Show full text]
  • Non-Standard Language Use in Performing Poetry
    ENGELSKA Non-standard Language Use in Performing Poetry A Linguistic Study of Benjamin Zephaniah’s Propa Propaganda Birgitta Danielsson Supervisor: Joe Trotta Bachelor’s Degree August 2012 Abstract Title : Non-standard Language Use in Performing Poetry: A Linguistic Study of Benjamin Zephaniah’s Propa Propaganda Author : Birgitta Danielsson Supervisor : Joe Trotta Abstract : The aim of this study is to examine the extent and type of non-standard language use in Benjamin Zephaniah’s poetry collection Propa Propaganda . It also investigates variables such as identity, situation and style by comparing the poet’s artistic language use with his speech in other contexts such as a debate and a speech. The method was a quantitative as well as qualitative analysis of the non-standard language use comparing spelling ( reflecting pronunciation), grammar and words in the different situations. This study shows that Benjamin Zephaniah’s artistic language use contained a higher degree of non-standard forms than could be found in other speech contexts such as a debate and a speech. The influence of the non-standard forms was also different in these contexts. The artistic language use was more influenced by his Jamaican background than his speech in which more of a regional British accent could be detected. Keywords : Non-standard language use, Benjamin Zephaniah, Jamaican influence, language and identity, artistic language use Table of contents 1 Introduction.......................................................................................................................
    [Show full text]
  • Rapping Postcoloniality: Akala's “The Thieves Banquet” and Neocolonial Critique
    Williams, J. A. (2017). Rapping Postcoloniality: Akala's 'The Thieves Banquet' and Neocolonial Critique. Popular Music and Society, 40(1). https://doi.org/10.1080/03007766.2016.1230457 Publisher's PDF, also known as Version of record License (if available): CC BY-NC-ND Link to published version (if available): 10.1080/03007766.2016.1230457 Link to publication record in Explore Bristol Research PDF-document This is the final published version of the article (version of record). It first appeared online via Taylor & Francis at http://www.tandfonline.com/doi/full/10.1080/03007766.2016.1230457. Please refer to any applicable terms of use of the publisher. University of Bristol - Explore Bristol Research General rights This document is made available in accordance with publisher policies. Please cite only the published version using the reference above. Full terms of use are available: http://www.bristol.ac.uk/red/research-policy/pure/user-guides/ebr-terms/ Popular Music and Society ISSN: 0300-7766 (Print) 1740-1712 (Online) Journal homepage: http://www.tandfonline.com/loi/rpms20 Rapping Postcoloniality: Akala’s “The Thieves Banquet” and Neocolonial Critique Justin A. Williams To cite this article: Justin A. Williams (2016): Rapping Postcoloniality: Akala’s “The Thieves Banquet” and Neocolonial Critique, Popular Music and Society, DOI: 10.1080/03007766.2016.1230457 To link to this article: http://dx.doi.org/10.1080/03007766.2016.1230457 © 2016 The Author(s). Published by Informa UK Limited, trading as Taylor & Francis Group Published online: 29 Sep 2016. Submit your article to this journal Article views: 34 View related articles View Crossmark data Full Terms & Conditions of access and use can be found at http://www.tandfonline.com/action/journalInformation?journalCode=rpms20 Download by: [University of Bristol] Date: 14 October 2016, At: 02:13 POPULAR MUSIC AND SOCIETY, 2016 http://dx.doi.org/10.1080/03007766.2016.1230457 OPEN ACCESS Rapping Postcoloniality: Akala’s “The Thieves Banquet” and Neocolonial Critique Justin A.
    [Show full text]
  • Jeremy Corbyn Popular Front Lib'n Palestine Southampton Antifa Mick Antoniw Merseyside AFN Bristol Anti-Fascists Keith Birch UNISON Steve Turner UNITE
    Paul Simpson POSTMODERN NEO-MARXISM Richard Rorty RIP Michel Foucault RIP Alex Craven Max Shanly Norwich N Newham Aberconwy Stanley Fish Ben Sellers Pudsey Rugby Jacques Derrida RIP Norwich N York Lewes York Outer Pudsey Southwark RED LABOUR Newham Shipley Tatton Rugby Aberconwy Salford, Tatton Truro Haringey Migrant issues JF Lyotard RIP Lewes NW Durham Harrow East Lewisham Corbyn's COMMUNITY CAMPAIGNTruro & Falmouth UNIT Marsha-Jane Thompson Shipley Migrant issues Milton Keynes N Stoke-on-Trent N Milton Keynes N Harrow E Haringey Redruth Northampton N Lewisham Fredric Jameson Northampton N Wavertree Broxtowe Laura Pidcock MP Stoke N Redruth James Butler Wavertree Aaron Bastani Project 17 The Word Broxtowe MOMENTUM KIDS Watford Eleanor Penny Sasha Josette Alan Gibbons Cecile Wright Editor Alan Davies Novara Media Socialism Today Jill Mountford London Labour Briefing Leanora Partington Michael Walker Morning Star Michael Chessum Watford David Harvey Ash Sarkar Director Samuel Tarry The World Transformed = Revolution! Director Marx in the Web Solidarity Chantal Mouffe, Belgium Fisayo Eniolorunda Labour Party Marxists Alena Ivanova Director Worker's Fight Jean-Luc Melenchon, France Anarchist Student Society Dr Pete Campbell The Clarion Christine Shawcroft Socialist View Laura Parker Left Futures Radical Left at SOAS The News Line Tower Hamlets New Politics Halimo Hussein Fiona Lali NUS Scottish Socialist Voice Prof Mark Maslin MOMENTUM Labour Against Private Schools John Ross Class War website World Socialist Web Site China, Chinese Academy
    [Show full text]
  • Benjamin Zephaniah
    Benjamin Zephaniah Dr Benjamin Obadiah Iqbal Zephaniah was born on the 15th April 1958 in the Handsworth district of Birmingham, England. His mother was a nurse and originally from Jamica. His father was a postal worker and originally from Barbados. Benjamin is famous for his performance poetry. When he was 22 he moved to London so he could share his poetry with more people. Poems Benjamin attended school until he was 13 years old, he initially found it difficult to read and write. Unhappy with the popular opinion that poetry was only for people who were in school or at university, he started performing his poems so that they were accessible to everyone. The type of poetry that Benjamin performs is ‘dub’ poetry. Dub poetry uses the performer’s voice as a musical instrument. The performer changes the speed and pitch of the poem to give it more a musical sound. Benjamin’s performances became really popular and many people enjoyed his poetry. Causes Many of Benjamin’s poems are about causes that he has strong beliefs about. He has written, performed and published many poems with messages against racism and slavery. Alongside this, he also writes poems about what he calls ‘street politics’. In the early 1980’s he performed some of his poems at demonstrations and outside police stations; this was to argue against homelessness and rising unemployment at the time. As a supporter of animal rights, Benjamin also writes poems which discuss and question the way we treat animals. Books As well as performing his poetry around the world, Benjamin has published his work in several books for both adults and children.
    [Show full text]
  • Rastafari and the Arts
    RASTAFARI AND THE ARTS Drawing on literary, musical, and visual representations of and by Rastafari, Darren J. N. Middleton provides an introduction to Rasta through the arts, broadly conceived. The religious underpinnings of the Rasta movement are often over- shadowed by Rasta’s association with reggae music, dub, and performance poetry. Rastafari and the Arts: An Introduction takes a fresh view of Rasta, considering the relationship between the artistic and religious dimensions of the movement in depth. Middleton’s analysis complements current introductions to Afro-Caribbean religions and offers an engaging example of the role of popular culture in illumi- nating the beliefs and practices of emerging religions. Recognizing that outsiders as well as insiders have shaped the Rasta movement since its modest beginnings in Jamaica, Middleton includes interviews with members of both groups, including: Ejay Khan, Barbara Makeda Blake Hannah, Geoffrey Philp, Asante Amen, Reggae Rajahs, Benjamin Zephaniah, Monica Haim, Blakk Rasta, Rocky Dawuni, and Marvin D. Sterling. Darren J. N. Middleton is Honors Faculty Fellow and Professor of Religion in The John V. Roach Honors College, Texas Christian University. He has published eight books, received several teaching awards, and he lives in Fort Worth. This page intentionally left blank RASTAFARI AND THE ARTS An Introduction Darren J. N. Middleton First published 2015 by Routledge 711 Third Avenue, New York, NY 10017 and by Routledge 2 Park Square, Milton Park, Abingdon, Oxon, OX14 4RN Routledge is an imprint of the Taylor & Francis Group, an informa business © 2015 Taylor & Francis The right of Darren J. N. Middleton to be identifi ed as author of this work has been asserted by him in accordance with sections 77 and 78 of the Copyright, Designs and Patents Act 1988.
    [Show full text]